1080i/25p to film out

hello.
we're shooting with the HVX200 a feature film and the final will be a Film out (35 mm).
we will be using final cut studio for editing.
question is:
when using the 1080i/25p mode (shooting progressive - recording interlace),
how does the final cut remove the pull down so we get the original progressive picture?
does it recombine the two fields or drop down one of them?
Our concern is to get the highest possible resolution for the film out.
Thank you in advance
Peace

I'm sure you've figured this out already as your most is a month old, but a great way is to finish all your post at 1080i/25p and then use Cinema Tools to convert to 24p at the end. The film will be slowed down and a little longer in length, but it's almost unnoticeable if you do a pitch change with your final audio. A lot of people work this way and it's your best option as you can keep the film as a 1:1 image ratio and not get into horrible looking pulldown conversions.

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1080i/24p to Film Out in Final Cut Pro

A client of ours shot a project with the *Panasonic HVX-200* in 1080i/24p (not 1080i/24pa) and they are asking if they will have a problem with the footage when they output to film. They are using *Final Cut Studio 2* on an *8-core Mac Pro*.
I told them to use *Cinema Tools* to reverse telecine the 29.97 footage back to the native 24p and they shouldn't have problems. They said I was wrong and that frames would be lost in the process. (Which I know isn't how 3:2 pull-downs work) They also said that they did this before and the 1080i footage they got from the HVS-200 P2 cards and FS-100's were already in 24p format when transfered. Is there a way that this was possible or am I missing something here?
Thanks!

You are right, they are wrong, very, very, very wrong. I'm going to copy and paste from another thread I just answered about this same issue:
I am the author of the FS-100 DVD guide, work with Focus Enhancements closely, have many consulting clients using this system, and have been using the HVX200/FS-100/FCP system since the HVX200 shipped, and a cert'd trainer.
As for FCP, here's the workflow. To start, make sure your HVX is set to 1080i/24PA. If it is set to 1080i/24P, you won't get 24p, you'll get 60i with the 24P effect. Just like on the DVX100. 24P results in a native 60i with the 24P effect, as 24PA has metadata that allows it to become progressive and 24P native.
In FCP, bring in your footage with the Log & Transfer window, assuming you're on FCP 6. Any pre-6 version was super buggy with P2 data. Make sure the "remove advanced pulldown" is selected and import your footage. Ignore the "Compressor" that is referred to in the clips info (which is all the metadata), it will not say 1080p24, it only refers to the compression engine handling the footage, not the actual compression of the clip.
In your project, delete any Sequences you have, in the FCP menu go to Easy Setup, and choose "DVCPRO HD - 1080pA24". Create a new Sequence and you're good to go. Simple as that.
If you go to look at "Item Properties" for these clips, look at the "Vid Rate" field, it will be 24p. The "Compressor" field refers to an engine and has nothing to do with the actual format of the clip, ignore it. The 1080p30 you see as the "Compressor" simply means that the QuickTime 1080p30 engine is being used, and is perfectly capable of driving native 1080p24 footage.
The lines you're seeing on 1080p24 are interlace lines, and are normal, as 1080p24 is, again, 60i with the 24p "effect". You have to record in, and edit in 1080pA24. There's a big difference.

Video to film-out

I'm color correcting HD video for a film-out. I'm trying to preserve as much information in the blacks and whites as I can while increasing contrast.
How should I use the waveform in this particular situation? Is it safe to push tight onto the 100/0 marks in the waveform as long as I'm not going past them? What happens when transferring to film if you've crushed the blacks or pushed the highlights too far? Is it ok for a small amount of information to be lost?

Going to a film out out is an extremely sensitive and complicated process.
For a start you should really know waht stock you are printing back to? You should find this out and obtain a LUT (look Up table) that will emulate this stock on your grading monitor so you know exactly what the final product will look like.
What process are you using to go to film?
Have you calibarted and set up your grading environment properly - e.g applied the correct gamma and color space?
Are you grading in rec.709 color space to go back to film... if so you need to apply a lut so that you are viewing your material as it will appear on the final print. If not rec.709 what colorspace are you grading in - RGB etc
Essentially film has a much wider gamut and luma range than video - again eactly how much and how far you can push the material will be defined by the processes and stock etc you are printing back to.
You will be safe to go past 100 and below zero on the Waveform. Turn Broadcast safe of and see how far you can push the material - as it originated on HD video you will be limited by how far you can push it anyway as most of the information above and below will already be clipped anyway by the recording process (unless you are grading RED RAW files or some form of 4:4:4 HD Video).
Creatively there is no reason why you cant push the material past its clipping point - once a white clips for example all that will happen is that you will get a very bright area on the film with no detail. Just look at the myriad of stylised flash back sequences in the movies today that have savage contrast and clip the whites and blacks massively. Its a creative decision at the end of the day. Essentially though I would of thought you would want to retain as much detail as possible so taking the material to just the point it clips naturally is a fairly good (if a little heath robinson) guide.
I would contact a local post house and ask to speak to their Digital Intermediate specialist and obtain some advice and help before embarking on this too much further.
Film out is also expensive and no producer will thnak you for having to repeat the process to get it right.
Good Luck
JB
Message was edited by: Jonathanatsightline
Message was edited by: Jonathanatsightline

Audio post for Film-Out

Hi Guys,
I have been researching the workflow for creating a film-out from HVX200 and have pretty much sorted the visual side of it all.
HVX200 Filmout Workflow
But I am now looking at the audio side of it all. I am totally new to this side of it and was wondering if someone could tell me the exact workflow to follow to accurately post the audio for a 23.98 project. Would it be better to use an audio post house?
Your help would be very much appreciated!
James
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I have just done a shoot with a Panasonic HVX200 on P2 using the 1080i/25 setting. I am also using Final Cut Pro 5.0.4 (can't upgrade as that is the version installed on the college computers). I can ingest the footage using the DVCPROHD 1080/50i codec but the footage comes in full picture without the black enveloped bars top and bottom. What does happen in that the picture has black bars on the left and right side of the frame. Is there a way to ingest (Import) the footage and get an anamorphic (16.9) frame with black bars top and bottom (I did it once but can't remember how)?
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1080i/50i conversion to 24p

Hi there,
I have read many articles and forums all over the internet, but have not found a definitive workflow for accomplishing getting my footage into a usable form.
First, I shot and captured from a Sony HVR-Z1U to FCP using the HDV 1080/50i capture codec.
I purchased the Nattress plugins for deinterlacing. What should I do next? If I render out deinterlaced footage, the info on the render files still says it's 1080/50i. How do I make it 25p?
My final output will be DVD but would like to keep my options open.
Any help would be greatly appreciated.
Thanks!
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I have searched and searched for help on this but am unable to find any.
Sorry for the very long description and story behind my issue, but it is massively frustrating. Basically, at some point during the 'burn to DVD' stage in iDVD it decides to completely ignore most of the sound edits I have made on the movie in iMovie.
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Many thanks in advance.

Many thanks. Looking at that thread it looks like there are a few others having the same issue as me. Might be to do with not using the predetermined rates for clip slowdown and inputting my own.
The frustrating thing is that I have only done this once right at the start of my hour long movie and if I change it now it with though the timing of my whole film out.
Not much else I can do though I suppose.

Anti-glare film for 27" display

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Do you know of any decent anti-glare film for the new 27" Apple Cinema Display? I got a this new monitor 2 days ago and I am starting to get headaches because of the glare... no matter how/where I position the screen in my office.
I really wish Apple would give a choice between glossy vs matte. That's future (hopefully), but for now I have to figure out a way to work with this 'shiny' new display

There's a anti glare film out here: http://www.radtech.us/Products/ClearCal-Displays.aspx
Still, I don't understand why Apple doesn't produce an 27" antiglare screen as optioned with the MBP...
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24 fps Film Workflow in FCP

Hello all,
I'm planning out a film workflow for a feature-length motion picture I plan to edit with my Final Cut Pro setup.
The equipment is as follow:
Mac Pro Quad 2.66 GHz
5 GBs RAM
6 TB Cal Digit RAID
Kona LHe capture card
The stock will originate on 35mm and there is a chance that this will go back to film to have the negative reconformed (pending purchase by a studio and/or distributor). However, the initial plan is to master to HDCAM SR and do a Digital Intermediate.
Ideally, I'd like to stay in 24p (23.98) for offline.
One plan for offline includes getting all dailies transferred via telecine at one-light to DVCAM, then digitize and doing the reverse telecine in Cinema Tools, then correcting for the timecode variance, then doing offline in SD in a 23.98 project.
Would it time-saving (I know not cost-effective) to get all the dailies telecined at one-light to DVCPRO HD tapes at 24p, then digitizing into the system at 24p, and eliminating the whole "reverse telecine" process.
Is this the only way to ensure that offline and online media originates on 24p and stays that way? I want to stay away from conversion as much as possible.
Thanks in advance!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA

Of course Keycodes...I planned on this from the beginning. However, for your recommended method, I don't see why we'd have to have our 1-light transfers to HDCAM SR 4:4:4...wouldn't it make more sense to transfer directly to DVCPRO HD tapes, dig them into the FCP station (we'll rent a deck and tri-sync) and cut, then pull our selects from keycodes for an HDCAM SR 4:4:4 master for the final format.
Ok, you really don't need to transfer as 1-Light, have the colorist make a full color correction. The only reason why I mentioned 1-Light was for reducing the time in the transfer suite. You still be have to do Tape-to-Tape Color Correction and they can do some pretty amazing stuff that you won't be able to do in the dailies and vice-versa (Go with a DaVinci System or EQ or Pablo).
The only reason why I don't recomend the whole transfer to DVCPro and the re-transfer to HDCam SR is because you can get the DVCPro quality from the 4:4:4 Master (Just digitize straight from the HDCam SR master with a DVCPro codec). You save the 2nd Re-Transfer time, the Dubs to DVCPro, the DVCPro Tapes and you same TIME. Remeber that they still have to re-clean the film, spend time loading to the telecine, and problems that are going to arise due to a re-transfer like possible scratches, lab dirt, chemical spots, film tears, etc. And these DO happen).
*Also, if you're also editing your way, and matching back to you keykode for selects, you won't be able to do it in Final Cut. I checked today and this option is only available for Avids. *
Since it's a 1-light transfer, is it really taking advantage of the HDCAM SR's 4:4:4 color space bandwidth? Why not go directly to DVCPRO HD if it's only going to be 1-light...
Again, don't do a one light. If you can afford it have the colorist do their best. Yes, if you are going 4:4:4 might as well go all the way. Regarding the DVCPro, see above.
I'm not sure our budget will allow for an HDCAM SR 4:4:4 transfer of our dailies. Is there typically a price difference between transfering on different HD tapes formats? HDCAM SR seems like it'd be more expensive than DVCPRO HD. If there is no price difference than I can see your point...but how good would it look at only 1-light (albeit w/ video color-correction).
HDCam SR 4:4:4 is expensive. Next best thing would be HDCam SR 4:2:2, followed by HDCam and finally DVCPro HD. Lately, DVCPro and HDCam are going about the same rate for transfers. If you have a good Post Supervisor he/she can probably sweet talk the post house for a HDCam SR deal. DVCPro HD has a compression of about 15:1, HDCam is 7:1, HDcam SR is 3:1 and SR 4:4:4 is 1:1. (It varies from source to source, these are only approximates) If you're doing a Film-Out, the higher quality, the better the Film-Out.
Oh, and one more thing... a friend of mine, after choosing his selects from the final format of his feature, had the HDCAM select reel made with a 3-light transfer, BUT, also had a downconvert made with Keycode and Timecode burn-in to help with the reconform...if the keycode stuff failed to match...it seems to help him a lot. Any merit to this method?
This is how you re-conform your offline. The whole DVCam dub thing is a given, is part of the method. You have DVcam dubs made (with keykode and timecode burns), you digitize this new material with its respective list and then you match the keykode from the dailies, to the keykode from the selects and bring in your new timecode from the new "selects" masters so that your sequence/EDL (and therefore online) will have matching timecode (the timecode from the original dailies will be useless). (*This system is only available on AVID as far as I know*). Again, this is where keeping track of keykode is super important and you will encounter problems.
In my humble opinion, most of this stuff is for the Post Supervisor to figure out with the Editor and the Post-House. I have talked to post supers that have gone this method and you would not believe how confident they were the 1st week and totally lost it after the 4th week. I have seen shows that have gone through 4 or 5 assistant editors and had to hire a 2nd editor to help with the problems that came up. I have worked on this kind of shows many times and that's why I HIGHLY discourage it.
If you (or someone else) wants to know more, feel free to contact me and I can go into details and help you figure out a workflow that will save you TIME and a lot of headaches and a tiny bit of money. My email is in my profile and feel free to contact me, I won't bite! At first...

Exporting DVCPRO HD 1080i

I have completed a multi-track (6video tracks/9 audio tracks)13 minute edit. Video , titles, stills, music, voice...just a normal edit really. Now I want to make a DVD. In the past with SD DVCAM I always export my multi-track edit into a one piece AVI before converting to mpeg for DVD. This always seems to clean up any strange things from happening to my final DVD video.
Now when I export my DVCPRO HD 1080i muti-track project to a one piece DVCPRO HD 1080i file it comes out missing little clips and some titles....?
Any comments or ideas?
Thanks,
Mark Voigt

I have taken footage in HD 1080i. Presently I need to make a movie in DVD format using my HD footage, but I would like to assemble my footage in HD so that if in the future I want to upgrade it won't be a problem. So can I make my movie in HD1080i and export it to DVD format? If so, how? Or if I make it in DVD format is there an easy way to upgrade my movie to HD in the future?

Best export settings for digitized 16mm film to vimeo

I had my black and white 16mm film digitized with the following settings:
HD frame rate of 1080psf 23.98
HD compression with the Apple Pro Res 422 (HQ) Higher Quality
Standard def 23.98 frame rate (HD Conform or DFS Film Out)
4x3 aspect ratio
NTSC
I want to upload the finished product to Vimeo so I can start showing festivals my finished product. However, when I use PrPro's CS6 Vimeo settings, I can't seem to get a file that looks decent—it always looks incredibly pixelated. I've played around with higher frame rates (and higher settings on everything) but it doesn't seem to look much better. Right now I'm using H.264. Should I be using a different codec? Please help!

What's the best export format or codec?
http://www.video2brain.com/en/lessons/whats-the-best-export-format-or-codec
And,
Vimeo Video Compression Guidelines
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Recommend 8mm Film Transfer Service

I would like to have our family 8mm films (and one 16mm from 1929) transferred to a digital format for editing in FCP. I don't want to spend a ton of $$ (I have 47 3-inch 8mm reels), but I want a good quality transfer. (One quote I got was for over $1,000) There are a bunch of companies that do this, but it is hard to tell who is good. Apparently there are several methods for transfer and it seems most result in an uncompressed .avi file. I am sorry to post this off-topic question here, but I trust this FCP forum and hope maybe some other editors have done this kind of project before.
Thanks in advance for replies.

Catherine
I think you have two incompatible requirements: "Good quality transfer" vs. "I don't want to spend a ton of $$." There is a high cost for a good quality commercial transfer.
A few years ago I got the bug to transfer family 8 and Super8 mm film to digital. My first attempt was to simply project the image on a screen and aim a camcorder at it. The result was not-so-great — flicker when projector speed isn't perfectly synched with camcorder speed, plus parallax and not perfect focus since the camcorder has to shoot the screen at an angle because it's alongside the projector, not directly in line with it.
Then, after a recommendation from this forum, I checked out MovieStuff (see Carl's post above). I ended up purchasing a WorkPrinter-XP and doing the job myself. (Click on the 'Equipment' link at the bottom of the MovieStuff page.) In simple terms, software on the Mac syncs the camcorder with the projector, capturing the film frame-by-frame, resulting in no flicker, no parallax, full-frame capture, and a sharp picture. Drop the file in FCP and edit to your heart's content, then create a DVD with music, a voiceover and/or closed captioning, and wow the family.
Other than having total control of all phases of the project plus the satisfaction of doing this myself, the next best thing is that, in the end, it cost me nothing. In fact, it continues to pay for itself. What would've been spent having the film commercially transferred, wasn't. As word spread, distant relatives asked if I could transfer their film. Yes, for a reasonable fee. Then word spread to non-relatives. You get the idea. In short, there is still a lot of 8mm film out there in canisters that people want to see but can't because their projectors don't work and many have heard horror stories of the product received when film was sent away to a commercial transfer outfit.
If doing it yourself interests you, one recommendation I would make is to splice the film on all those 3" reels and put it on 8" reels. The job goes a lot faster with fewer reels.
Good luck

1080i/25p to film out

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